I will say this about Hollywood and the Academy: They are consistent in that they will praise any film, no matter that the less enlightened public failed to embrace it, and no matter how boring—so long as it fits into an agenda.
The buzz leading up to the Academy Awards this year already is swirling around Brokeback Mountain and Crash. It does not take a rocket scientist to understand why these would be the Hollywood Darlings of the season as political correctness continues to be a more important criteria for judgment than directorial skill or even general popularity. The Academy voting season began officially last week with Oprah Winfrey beginning her campaign for Crash. Sorry Oprah, this worthy film, from the writer of Million Dollar Baby, is being overshadowed by gay cowboys. Still, I think it has a slight chance to fare well, as it should.
Overlooked in the buzz is Cinderella Man. Clearly, in my opinion, one of the finest films of the last year. Russell Crowe—I know, I know, he’s kind of a jerk—delivers an outstanding performance. Even more remarkable is how humble and down to earth his character is. Compare and contrast James Braddock to Russell Crowe and you’ll see what a terrific acting performance this was!
Cinderella Man is a Ron Howard picture, replete with all touching, heart warming scenes that Ron Howard does so well. Tiny glances at a wife’s frustration with the Great Depression, snatches of the way being poor is shaping the world view of Braddock’s children, insightful glances at the way pride can play a role in a man’s downfall; and the way casting it off can literally save him.
All in all this was the strongest film I have seen all year. Renee Zellweger, Paul Giamatti and Russell Crowe could all be nominated for their roles in this film.
The story of James Braddock, his remarkable boxing career, his determination to hold his family together, his amazing work ethic, his refusal to quit and his struggles with pride, are remarkably captured the moving screenplay by Cliff Hollingsworth. A quick glance at IMDB.com will tell you it is only Hollingsworth’s second writing credit—I can’t wait to see what he delivers next.
Anyway, I know that this won’t happen. I know that the Academy will take a movie with more PC juice, like Brokeback Mountain, and embrace it for all it’s worth. That what Hollywood does; take a movie that has some sort of theme that allows the intelligentsia to feel more enlightened than we are and then jam it down our throats.
I feel like putting up a series of billboards in Tinsel Town, right down the main drag: OK! We Get It!! Homosexuality is normal and fine and those who practice it should be treated the same. You can stop now. Heck, everyone should be gay it’s so sheik and hip.
I think they are actually on a mission to convince us that 1 out of every 3 people is a homosexual. Maybe more. Why else would every TV show either be about a gay character or feature 2 or 3 of them. Nearly every family sitcom now has the gay brother or sister (as, you know, every family does. Literally. Every. One. Don’t you believe that?) ER resorts to making characters gay every time they run of plot. Which, in my opinion, is every other week or so.
Movies like Cinderella Man can’t win in the Academy. Theirs is too much embracing of American Values, too much prayer, too much of a family theme. See, Braddock and his wife raise children together, shelter lifes storms together, make love too eachother, grow old together. The elitists in the Academy hate this stuff. There’s no divorce, no gay lover, no adultery—none of the current Hollywood causes are featured. Now, if James Braddock had left his wife and kids alone to run off with his manager and have homosexual orgies, this would be Oscar worthy.
The sad thing is that no film, no matter how well written or how well acted, has a chance when it features characters that have traditional, uncontroversial values that typify those deemed old-fashioned. Hollywood has a list of protected interest groups and occasionally feels compelled to crank out propaganda films that celebrate them, make them seem more prevalent than they are and show us how persecuted they are. They do this, in part, so that when we don’t pay enough attention to these movies they can point at us and say we’re unenlightened and uncaring. They do it simply because it makes them feel better about themselves.
Lost in this tidal wave of agenda pushing and class protection are great films like Cinderella Man. If you love great acting, uplifting stories, historical perspective or supremely talented and subtle directors, please look up Ron Howard’s Cinderella Man. Once you view you it you’ll understand why the Academy of Motion Picture Art’s and Sciences is in danger of being a completely irrelevant organization.
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